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A Study on Channel 4'S Station Identification: Focused on 'Modular

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A Study on Channel 4'S Station Identification: Focused on 'Modular http://dx.doi.org/10.7230/KOSCAS.2016.42.241 A Study on Channel 4’s Station Identification: focused on ‘Modular Typography’ I. INTRODUCTION 1. Background 2. Purpose and Scope 3. Theoretical Framework II. HISTORY OF CHANNEL 4 1. Establishment and Branding of Channel 4 2. Elements of Station IDs III. THE FIRST ICONIC '4' ID CONCEPT 1. Modular Typography IV. SUBSEQUENT ICONIC '4' ID CONCEPTS 1. Examples of Channel 4 IDs V. CONCLUSION Reference Abstract Adjah John · Hong, Mi-Hee 초 록 영국 TV 채널인 채널 4는 세계적으로 가장 유명한 채널 중의 하나다. 그 채널 4 의 스테이션 ID 역시, 스테이션 아이디를 포함한 모션 그래픽 발전에 선두적인 역 할을 해왔다. 이 스테이션 아이디의 메인 디자인 컨셉은 이 채널의 이름이자 동시 에 상징적인 채널 4의 로고 ‘4’이다. 채널 4 에서 처음으로 컴퓨터로 제작된 스테이션 아이디에는 모듈라 타이포그래 피가 사용되었다. 모듈라 타이포그래피는 글자를 비슷한 형태로 만들어내는 서체 디자인 기술인데, 채널 4의 스테이션 아이디는 컬러풀한 다각형으로 구성되어있다. 이 다각형들은 흩어졌다가 같은 3디 초점으로 모여든다. 또한 채널 4 스테이션 아 이디의 모듈 방식은 비슷한 다각형들로 증명된다. 첫 번째 스테이션 ID 이후, 채널 4는 브랜화되었다. 특히 2004년부터 2011년 사이의 채널 4 스테이션 아이디에서 채널 4의 모듈 타이포그래피 특징들이 많이 보인다. 아이콘 ‘4’는 돌, 건물, 빛 등의 자연적 환경과 인위적 환경으로부터 소재 를 갖고 온다. 이 논문에서는 채널 4의 역사, 첫 번째 스테이션 아이디와 그 이후 채널 4의 스테이션 아이디들에 적용된 모듈방식에 대한 시각적인 묘사가 포함되어 있다. 키워드: 모듈 타이포그래피, 스테이션 아이디, 채널 4 241 I. INTRODUCTION 1. Background Station Identification, popularly know as station ID is a practice of television or radio stations to identify their networks on air1). Station IDs have been in use for quite some time. The British Broadcasting Corporation(BBC) is an example of television stations, which identified itself on air around 1951. Station IDs serve a variety of purposes. The main purpose of a station ID in broadcasting is to let viewers know which station they are watching. Station IDs are also used to schedule programmes, brand new products and market the TV channel. Station IDs are made up of various multimedia elements including typography, colour, sound, animation and other visual effects. All these elements are combined to with technology2) and software, to create an identity for a television channel. Channel 4 is one of the most popular TV channels in Britain. Channel 4's station ID was first aired in September, 1982. It marked a new era of motion graphics. It was designed employing a technique in typography called 'modular typography' or 'modular construction'. The iconic '4' was used as the main visual symbol. Channel 4's station represents diversity and innovation of the channel. Following the original station ID which was constructed from coloured blocks, a number of them have been created using a 1) Brownie B. Transforming Type: New Directions in Kinetic Typography, Bloombury, 2015, Pg. ix 2) 한창완, 「디지털콘텐츠의 기술기반 진화모델연구」, 『한국만화애니메이션학 회』, Vol.-No.10 (2006), pp. 159-178. 242 similar concept from modular typography. Channel 4's station ID has been reviewed by other researchers all over the world. Notable among such researchers is Barbara Brownie (University of Hertfordshire, England), who has written, extensively, on the behaviour of fluid typography. This search paper will address the use and application of modular typography in Channel 4's first and subsequent station IDs. 2. Purpose and Scope The main purpose of this research is a study of Channel 4’s station ID. Channel 4 is the focus of this research because its first concept of modular typography in 1982, is very creative and a point of reference for motion designers. Another objective of this research is to identify the various ways modular typography is employed in the construction of subsequent Channel 4's station IDs. In addition, this research also seeks answers to the relationship between modular typography and the principles of design and motion. Analysis will include the original station ID and other examples designed between 2004-2011. 3. Theoretical Framework The framework for this study is based on the concept and application of modular typography. typography. Modular typography is a technique in typography. Modular typography is sometimes called modular lettering. It describes a technique of constructing typeface or letters that share common elements3). 3) Willen B., Strals N., Lettering & Type: Creating Letters and Designing Typefaces, Prineton Achitectural Press, 2009, Pg. 60 243 The concept of modular lettering originated from a period when san serif typefaces began to create a new feeling of beauty in graphic design4). During the 1920s to 1930s, big foundries5) in Europe and America became very interested in expanding their typefaces. The san serif typefaces were considered 'modern' during this period because of its bold appearance. In 1928 a typographer from Munich, Germany designed a typeface called 'Futura'. This typeface is based on modular lettering because the letterforms share interchangeable elements eg. the 'o' is used for 'b','c', 'e', 'p' etc. Figure 1. Futura Medium (Bauer)6) Most of these elements in modular lettering are geometric in nature. Another thing about modular typeface is that they are san sanserif and devoid of calligraphic elements. Designers employ modular letters to create various effects in posters, movie titles, books, etc. This is because it is easy to manipulate their forms. In the 20th Century, some designers used this form of modular letterforms to create 4) Raizman D., (2003) History of Modern Design: Graphics and Products Since the Industrial Revolution, Lawrence King Publising Ltd, Pg 191 5) "The term “foundry” refers to a company that designs and sells retail fonts directly and/or through font distributors". Ruxandra Duru EINA," Type Foundries today, A study of the independent type foundry industry", 2011 6) Lawson A., Anatomy of a Typeface, David R. Gordine Publishing Inc.,1999, Pg 338 244 various forms of effects in graphic design. Figure 2. Theo Van Doesburg's typeface for De stijl Magazine7) The above example is a typeface design by Theo Van Doesbury for De Stijl Magazine. In this title, the letters are simple rectangular units. Channel 4’s used of modular typography is almost the same even though it is not a still image. The iconic '4' is made up of geometrical units like Theo Van Doesburg's typeface but used in modular construction. This study will analyse the behaviour of the units or modules in various forms of motion and how design principles are applied. II. BRIEF HISTORY OF CHANNEL 4 1. Establishment and Branding of Channel 4 The Broadcast Act of Britain in 1980 proposed a new public service television channel. Channel 4 was established as a branch of the IBA (Independent Broadcasting Authority). The first station ID was launched on 2nd of November, 1982 as already stated in the introduction. On that day, television screens were suddenly filled with elegant display of coloured blocks of the channel's iconic '4' logo. The first director of the television channel was Jeremy Isaacs8). 7) http://www.iconofgraphics.com/Theo-Van-Doesburg/ 8) Hobson D, Channel 4: The Early Years and the Jeremy Isaacs Legacy, I.B. Tauris,2008 Pg. 2 245 Before Channel 4, there were only three channels in Britain; namely BBC 1, BBC 2 and ITV. Over the years after the launch of the channel, it helped in broadcasting very high quality contents to its viewers. Some of these are The Devils Whore, Red Riding, The Inbetweeners, Battlefront, Free Agents etc. Channel 4 also featured popular arts, religious and innovative educational programmes9). Station IDs are part of a brand. A brand is not just the name of a company or TV Station. A brand involves all the characteristics of a TV station or company which makes it unique from other companies10). The major core values of Channel 4's brand are diversity and innovation. Channel 4 sought to create a brand that would reach out to all classes of people; thereby promoting its core values. To achieve this, Channel 4's logo and station ID was design by Lambie-Nairn. Lambie Nairn concept of the coloured blocks reflects the diversity and innovation of Channel 4. His concept of branding is based on basic rules namely; 'simplicity' and 'uniqueness'11). As seen in <Figure 3>, Channel 4's iconic logo is very simple in form and very unique in design. Figure 3. Channel 4's Original Logo by Lambie-Nairn12) 9) The House of Lords, The British Film and Television Industries--Decline Or Opportunity?, Volume II, ,2010 Pg 467-468 10) Lander R., Graphic Design Solutions 5th Edition, Wadsworth Cengage Learning,2014, pg. 240 11) http://labretgraphics.tumblr.com/post/118775070446/lambie-nairn 246 2. Elements of Station IDs Station IDs are played at various points of broadcasting, especially at the beginning and end of programmes. They make the viewers aware of the channel and they serve as 'teasers' to watch the next programme. During a broadcast, a station ID may be played in between programmes. This is known as a commercial ID or a break bumper. It signals a break and resumption. Bumpers may not necessarily contain the main logo13). Sometimes they are made up of colour themes. In branding new programmes, station IDs are created for advertising campaigns. These IDs are played to create awareness of a new event14). Figure 4. Elements of Station IDs Station IDs include visual and sound components15). The visual make-up of a station ID constitutes animation of text and image. Text in station IDs is usually the logo and 12) http://www.lambie-nairn.com/case-study/channel-4/ 13) https://en.wikipedia.org/wiki/Bumper_(broadcasting)accessed 2015.01.30 14) 이영미, 「애니메이션 기법을 활용한 TV방송국 Station ID 디자인에 관한 연 구」, 『한국애니메이션학회』, Vol.
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